Overview

This edited collection assembles international perspectives from artists, academics, and curators in the field to bring the insights of screendance theory and practice back into conversations with critical methods, at the intersections of popular culture, low-tech media practices, dance, and movement studies, and the minoritarian perspectives of feminism, queer theory, critical race studies and more. This book represents new vectors in screendance studies, featuring contributions by both artists and theoreticians, some of the most established voices in the field as well as the next generation of emerging scholars, artists, and curators. It builds on the foundational cartographies of screendance studies that attempted to sketch out what was particular to this practice. Sampling and reworking established forms of inquiry, artistic practice and spectatorial habits, and suspending and reorienting gestures into minoritarian forms, these conversations consider the affordances of screendance for reimaging the relations of bodies, technologies, and media today. This collection will be of great interest to students and scholars in dance studies, performance studies, cinema and media studies, feminist studies, and cultural studies.

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9781032372150

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Priscilla Guy is a Canadian artist and researcher holding a PhD in feminist screendance from Université de Lille. She is co-founder and director of Regards Hybrides, a project that aims to promote the expression, development, and outreach of practices and discourses that border between dance and cinema. With its web platform, its international biennial, and its range of services for artists and presenters, Regards Hybrides is the only project of its kind in Canada. Alanna Thain is Associate Professor of English, World Cinemas and Gender, Sexuality and Feminist Studies at McGill University. She is co-founder and director of the Moving Image Research Lab, dedicated to the studying of the body in moving image media, and directs the FRQSC research team CORERISC: Collective for Research on Epistemologies and Ontologies of Embodied Risk. She is the author of Bodies in Suspense: Time and Affect in Cinema (2017).

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